Greetings again from the darkness. You’ve likely heard, and maybe used, the old adage, “everything but the kitchen sink.” It’s typically meant to emphasize the inclusion of many unrelated and often unnecessary elements into a conversation or event. It also provides a description of the strategy filmmaking brothers Anthony Russo and Joe Russo have taken with the action sequences in the highest budget Netflix original movie to date. Of course the Russo brothers have directed numerous Marvel movies, including AVENGERS: ENDGAME (2019), so subtlety is never anticipated in their films. If you are curious to know what kind of kitchen sink you get for $200 million, Anthony and Joe show us: lots of guns, a global trek to various countries, more big guns, plenty of characters – some relevant, some not, even larger guns and weapons, lots of rayon, and the destruction of a town square in Prague.
Fans of turbo-charged action films such as the John Wick and Jason Bourne films will likely be quite satisfied with the set pieces, stunts, and manic gun fights and fist fights that are packed into a two-hour run time. There is so much bouncing around the globe that it’s kind of difficult to keep up – especially since there doesn’t seem to be any particular reason for all of the globetrotting (well, other than it’s pretty unusual). I couldn’t keep track of every locale, but we definitely visited Bangkok, Austria, Croatia, and Czechoslovakia. And that’s beyond Washington, D.C., and Langley, where we spend time in dark offices.
Co-director Joe Russo co-wrote the screenplay with frequent Russo Brothers collaborators Christopher Markus and Stephen McFeely, and it was adapted from Mark Greany’s novel (the first in a series). Ryan Gosling stars as Court Gentry, codename Sierra Six, a CIA black ops hit man recruited directly from prison by veteran CIA agent Donald Fitzroy (Oscar winner Billy Bob Thornton). This is Gosling’s first movie in 4 years (FIRST MAN, 2018) and it’s nice to have him back in a role that will recertify his ‘man card’ before next year’s BARBIE movie. As you might expect, Gosling’s Six is cool as a cucumber, popping off quips, and stoic in the face of adversity. In fact, much is made of his character’s ‘street cred’, despite most every scene involving colossal mistakes, should-be death encounters, and enough mayhem to make Allstate jealous. Six is so cool that he has less reaction to being shot or stabbed than I have when I stub my toe on the leg of the bed.
When Six’s mission goes awry due to his human compassion, three things happen. First, Agent Dani Miranda (Ana de Armas) bails him out (the first of a few). Second, his target gives him advice and the always mysterious thumb drive with incriminating evidence; and third, his corrupt station chief, Denny Carmichael (Rege-Jean Page, “Bridgerton”) throws a tantrum and hires a psychopath to track down Six and eliminate him. The psychopath is Lloyd Hansen played by Chris Evans, sporting an evil mustache and resort casual attire. It seems Mr. Evans is having fun with the villainous role that he hopes will put distance between his career and the Captain America role he has embodied for more than a decade. The argument could be made that he overplays his hand here, but he does get to spout the already infamous line, “If you want to make an omelet, you gotta kill some people”.
Other players here include the always terrific Alfre Woodard as a former station chief, Jessica Henwick (Bugs from THE MATRIX RESURRECTIONS), Dhanush as yet another hired assassin, Shea Whigham in flashbacks, and Julia Butters as the ‘damsel in distress’. You might recall Ms. Butters’ scene-stealing turn as the precocious child actor in Tarantino’s ONCE UPON A TIME … IN HOLLYWOOD. This film’s title is derived from the term for a CIA operative who effectively moves around without being noticed or remembered (the opposite of a Kardashian). The ironic thing is that Gosling’s Six is almost never undetected. He is frequently in fights, shootouts, car chases, and either causing or escaping explosions. Even the Russo’s “gray” lacks subtlety! It makes perfect sense that the film’s cinematographer, Stephen F Windon, is best known for his work on multiple entries in “The Fast and the Furious” franchise. Here he employs some supersonic drone shots in order to add further hyper-activity to the proceedings. Again, this one is for extreme action fans, not those looking for a brainy spy-thriller.
Opens in theaters on July 15, 2022 and on Netflix beginning July 22, 2022
Greetings again from the darkness. Brothers Anthony Russo and Joe Russo are known for their work with Marvel, including, AVENGERS: ENDGAME, and AVENGERS: INFIINITY WAR. This time they tackle a stylish crime-thriller based on the Nico Walker novel, and adapted for the screen by co-writers Angela Russo-Otsot (sister of the directors) and Jessica Goldberg. The Russos reunite with Tom Holland (Spider-Man in the Marvel universe), and he proves quite capable of carrying the heavy load in a bleak and somber drama.
Opening a film with a Van Morrison song is always a welcome move, and then it cuts right to Holland as our lead character narrating as he executes armed robbery at a local Cleveland bank. He admits it’s not his first and that his face has been caught on camera a few times. Oh, and he discloses to us that he likes trees. It’s not the last time we ask, “Why?”
The directors break the film into segments, beginning with Part 1: 2002, “When life was beginning, I saw you.” In English class, he spots Emily (Ciara Bravo) and soon the romance is in full bloom. A too-quick decision has him joining the Army, and the two lovebirds tie the knot before he heads out. In this segment, we learn that he takes Xanax for panic attacks, and his best friend is James (Forrest Goodluck).
Part 2 takes us through Basic Training, where Holland’s character pushes through the brutal Drill Instructors to become a medic, which transitions into Part 3 known as Cherry (the name given to Holland’s character after his first battlefield action. His time in Iraq finds him watching as his Army pal Jimenez (Jeff Wahlberg, Mark’s nephew) dies from wounds.
Part 4 “Home”, shifts the film from a character study to a case study on the extremes of PTSD. Even though he is back with Emily, the love of his life, Cherry simply can’t function as a normal person. The medal for his heroic war efforts means nothing to a man who can’t sleep or find peace. His self-destructive actions include drinking, drug addiction, and a series of bad decisions … all dragging his lovely Emily right down with him. This leads to Part 5 “Dope Life”, which is without question, one of the most depressing and difficult to watch segments of any movie I can recall. It’s every bit as much of a downer as THE BOOST (1988), LEAVING LAS VEGAS (1995), or REQUIEM FOR A DREAM (2000). The film becomes a sea of drugs, bank robberies, and needles in arms.
Long time cinematographer Newton Thomas Sigel (DRIVE, 2011; THE USUAL SUSPECTS, 1999) assists with the horrific sensation that these situations evoke by capturing the desperation of the characters and squalor of their environment. The Epilogue covers an extended period time through present day, and though the ending is not really a surprise, we do wish a bit more context had been provided. The initial bank robbery we see basically bookends the film leaving us trying to recover from this Romance-War-Mental Health-Drug Addiction-Crime thriller that saps our energy. This is not one for those who prefer light-hearted cinema or get annoyed by cheap filmmaker tricks.
Available in theatres February 26, 2021 and on AppleTV on March 12, 2021
Greetings again from the darkness. The description for this movie labels lead character Tyler Rake “a fearless black market mercenary.” Now I’ve personally never shopped for a mercenary, but my assumption is that every one of them is ‘black market’, and none would likely self-identify as anything other than ‘fearless.’ My Facebook account is inundated with unwanted advertisements, and I’ve yet to see one for any mercenary, much less one that lacks courage. Now you likely find this to be worthless meanderings, but that’s where the first feature length film from director Sam Hargrave took me. Mr. Hargrave is a veteran stunt coordinator and stunt performer (he’s been the stunt double for Chris Evans’ Captain America), and he’s working from a script by Joe Russo (director and producer of the last two Avengers movies and the last two Captain America movies).
Chris Hemsworth (THOR) stars as the aforementioned Tyler Rake. It’s a role that would have just as easily worked for Jason Statham or, in past years, Bruce Willis, Sylvester Stallone, or Arnold Schwarzenegger. Rake is a live action hero, haunted by visions and dreams of better times. His fighting prowess, shooting skills, and willingness to play roulette with his own life, make him the perfect hire for imprisoned drug lords when their son is kidnapped by a rival drug lord. And that’s exactly what happens.
The film opens with Tyler in a bad spot. He’s injured and trying to shoot his way out of a mess where he’s badly outnumbered. The film then flashes back a couple of days where we witness the kidnapping of Ovi Jr (Rudrhaksh Jaiswal) by Amir Asif (Priyanshu Painyuli), the drug lord rival to Ovi Jr’s imprisoned father. We also see Tyler, after a few too many drinks, take a running leap off a 30 meter cliff into an Australian lake. Soon he’s visited by Nik (Golshifteh Farahani, Adam Driver’s wife in PATERSON). She acts as his handler for the dangerous jobs, and few are more risky than extracting Ovi Jr.
What follows are fast-paced car chases through the dusty streets of Dhaka, bone-crunching hand-to-hand combats, and more shootouts than we’ve seen in a while. Tyler’s job is to extract Ovi Jr and deliver him safely home. When things go sideways, the two end up on the run from an entire army, and take cover in a local sewer … with all the sights and smells you might imagine. Supporting roles are covered by David Harbor as Tyler’s old friend, and Randeep Hooda as Ovi Sr’s right-hand man.
As you might expect, there are double-crosses and plenty of opportunities for Tyler to show off his ‘fearless’ Samercenary skills. Ovi Jr is a bit of a nerd, but does offer up some life philosophy for his troubled protector: “You drown not by falling in the water, but by staying submerged in it.” The kill count here is extraordinarily high and literally thousands of rounds get fired. What’s most surprising, however, is that Tyler’s cell phone somehow survives his many falls, gunshots, sewage, and car collisions. It’s much more impressive than the old Timex commercials. Gifted cinematographer Newton Thomas Sigel (X-MEN movies, DRIVE, THREE KINGS, THE USUAL SUSPECTS) does an admirable job capturing the action sequences; it’s just that this is too similar to many movies we’ve seen before, though it serves as a chance for Hemsworth to be something other than Thor. For those in need of an action flick fix after all this social distancing, EXTRACTION should scratch the itch.
Greetings again from the darkness. In what was originally titled “Avengers: Infinity War Part 2”, we get the much-anticipated conclusion to the most recent 22 Marvel Cinematic Universe (MCU) films … specifically Phase 3. Regardless if you are a deep-rooted fanboy or a casual viewer, you likely know the questions heading into this finale:
Can the Avengers defeat Thanos?
What role will Captain Marvel (and her pixie haircut) play?
Will those who died in AVENGERS: INFINITY WAR be brought back to life?
Will Tony Stark/Iron Man make it back from drifting in space?
Who will survive this final battle?
We knew this one had to be big, and in fact, it’s colossal/humongous/monumental … whatever your preferred adjective might be. And you can rest easy knowing that all of the above questions are answered quite clearly in this 3 hour epic from co-director brothers Anthony Russo and Joe Russo and co-writers Christopher Markus and Stephen McFeely (the same directors and writers behind AVENGERS: INFINITY WAR and a few other MCU entries).
Marvel has excelled over the past decade plus by combining interesting characters, understandable story lines, visually stunning effects, and clever humor. This finale offers all of that and more. In fact, it’s difficult to imagine a more perfect ending to this galactic odyssey … and I don’t offer that praise lightly. From the use of Traffic’s classic “Dear Mr. Fantasy” and a gut-wrenching opening scene that yanks us right back into that feeling of dread provided by ‘Infinity War’, we know we are in for a ride that is quite a bit more somber and even more emotional than what we’ve come to expect.
The fallout from the Thanos snap is clear as we catch up with Black Widow, Captain America, Thor and Hulk. Each is dealing on their own terms, and while the Banner-Hulk merger is quite something to behold, trust me when I say, you’ve never imagined seeing Thor in his current state. This marks Chris Evans’ 10th film as Captain America, and he is front and center through much of the film – as is, in a bit of a surprise, Karen Gillan as Nebula. It makes sense given her tie to Thanos, and Ms. Gillan holds up quite well in the spotlight.
Since the previous and speculation has been on time travel and the Quantum Realm, brace yourself for a bit of convoluted talk about how that works, but that’s the closest thing to a negative I have to offer – and even that is offset by numerous punchlines at the expense of BACK TO THE FUTURE and most every other time travel movie ever made.
The theatre was packed with Dallas area critics and industry folks, and there was a significant amount of cheering, applauding and more than a few sniffles. Yes, this one will take you on an emotional journey as well as a visual one. It has a tough/emotional beginning and a tough/emotional ending. These are characters we’ve gotten to know over multiple films … and you should know just about every major or mid-major character from every Marvel film makes an appearance, as do numerous minor ones. It’s quite a remarkable reunion. And yes, the brilliance of Tilda Swinton as The Ancient One more than offsets the Pepper Potts scenes.
Creator Stan Lee does get his final posthumous cameo (good for more applause), and there is a ‘women’s movement’ moment that seems to be Marvel’s “we hear you” statement. Much of what we see is “inevitable”, but as the Avengers assemble this last time, we are there to laugh, cry and gasp. This is what happens when ‘over-the-top’ is ‘just right’.
Greetings again from the darkness. We are at the 10 year mark of the new Marvel cinematic universe that began with the revolutionary IRON MAN (2008). This 19th movie in the franchise is actually Part 1 of 2 films that will (supposedly) be the lasting legacy of The Avengers. The second “half”, much of which was filmed simultaneously with this one, is set for 2019. Co-directing brothers Anthony Russo and Joe Russo were responsible for the two most recent Captain America movies (and also one of my all-time least favorites: YOU, ME AND DUPREE), and have now taken on the biggest budget, biggest cast, and longest run time yet of any Marvel movie. In fact, it’s so big, it could only be named ‘Infinity’.
Being that the fan base for this movie is highly sensitive to anything resembling a hint, much less a spoiler, this review will tread very lightly, and instead function as an overview with very general observations. There are a few key points, most of which are quite obvious from either the trailers or the previous movies in the series. First thing to realize is that this is a Thanos movie. He’s the first big (I told you everything was big), bad, nearly omnipotent villain. It should be noted that Thanos sees himself as misunderstood, which leads to the second key point: melodrama abounds – moreso than any previous comic book movie. It seems to be reminding us that Superheroes are people too (but are they really?). The third point is that if every character with a speaking part simply said “I am Spartacus”, it would still likely be the longest ever comic book movie. There are at least 28 characters with “key” roles – and that’s not counting the end credit stinger, or the missing characters we thought we would see, or the one that gets a logo tease as a coming attraction for part 2.
Co-writers Stephen McFeely and Christopher Markus had their hands full in working to come up with a coherent story, while allowing so many familiar characters to have at least one moment in the spotlight, if not a few. The fact that AVENGERS: CIVIL WAR divided the group actually allows for multiple segments to play out concurrently. Though we never doubt these fragmented cliques and isolated individuals will fight to save the galaxy, that doesn’t necessarily mean they get the band back together. In fact, it’s the Guardians of the Galaxy who are a much more cohesive group than our beloved Avengers. But fear not … there is plenty of fighting and action to go around.
Thanos claims he is saving many interplanetary civilizations and restoring balance with his plan to eliminate half of all living beings. While there might be some scientific evidence to back up his plan, it doesn’t sit well with the good guys. More focus is given to his cravings for ultimate control and power provided by tracking down all six Infinity Stones (Tesseract/Space, Mind, Time, Power, Reality, and Soul) to complete his Infinity Gauntlet. Many of these stones are in quite inconvenient locations and require some ingenuity and brute force from Thanos.
Perhaps the travel agent had the biggest challenge as portions of the film take place in New York City, Knowhere, and Wakanda (good luck finding a brochure on those last two). We also get a budding romance from Vision and Scarlet Witch, as well as annoying quasi-romantic banter between Tony Stark and Pepper Potts. And while we are on the “TMZ” portion of the review, it should be noted that both Black Widow and Captain America (introducing himself as Steve Rogers) both have new hair styles – though only one of them sports a beard.
In the realm of comic book movies, this would be considered an epic. It has stunning action sequences, remarkable special effects and some terrific comedy mixed in. Of course, you’ll have to accept the melodramatic emotions and fear that we haven’t been previously subjected, and know that the final finality doesn’t arrive for another year. It’s very long (more than 2 ½ hours) but it seems to go pretty quickly. The filmmakers have mostly succeeded in the monumental task of remaining true to the history in order to keep comic book fans satisfied, while also creating something that most should be entertained by. Despite lacking the upbeat, feel-good ending we’ve grown accustomed to, there is a welcome Stan Lee cameo, a post credit stinger (after about 10 minutes of rolling credits). And to top it off, we get “Rubberband Man” from The Spinners. Now that’s big!
Greetings again from the darkness. Many were unimpressed with the first Captain Americamovie, though I have always had a soft spot for the most heroic and genuinely pure of the superheroes. This sequel opens with Steve Rogers trying to acclimate after a 70 year sleep … he thinks the internet is pretty cool. It is a bit surprising that the Russo brothers (Anthony and Joe, known for You, Me and Dupree) are the ones who load up on plot lines within a Marvel movie.
Starting off with big time action sequences, the movie then morphs into a geopolitical weave of intrigue between SHIELD and HYDRA. New to this maze of distrust is Robert Redford … proving once again that Hollywood doesn’t trust guys wearing suits in fancy offices. In a twist, Captain America (Chris Evans) and Black Widow (Scarlett Johansson) find themselves the target of a manhunt by those they work for. Then they drag Falcon (Anthony Mackie) into this … his flight suit is a nice effect. All of this happens after an unexpected action-packed sequence featuring Nick Fury (Samuel L Jackson). The titular Winter Soldier provides an identity twist, as well as some intense fighting.
The multiple plot lines and emphasis on trust issues all correlate pretty well to some of the things going on in the world today. That adds an enjoyable element that really brings relevance to the Captain America character. Because of this, the repartee between Cap and Natasha is limited … we get some, but much less than what we have come to expect from other Avengers-related films. And it’s probably a good idea to go a different direction with the Avenger who really is different from the others. Don’t miss the extra scene in the closing credits … it’s the lead in to Avengers: Age of Ultron movie coming in 2015.
**NOTE: there is the always-anticipated Stan Lee cameo, and it adds the usual touch of humor